Movie reviews of Hope Madden

His pacing, framing, use of color and light all give the film its own swagger, though, and whether you guess where it’s all headed or you don’t, you’re bound to remain interested. Review

Synchronic is clever, to be sure, and at times quite touching. But for filmmakers who’ve until now positively dripped with inspiration, it feels like a step backward. Review

32 Malasaña Street sets complicated characters in motion within a familiar world. It just doesn’t use them to tell us anything new. Review

It’s hardly an uncommon cinematic concept, but thanks to a beautiful picture and a stunning central performance, it still commands attention. Review

But with Chicago 7, Sorkin’s struck a balance. He’s found a story and convened a cast that demand and receive his very best, because The Trial of the Chicago 7 is a story about today, this minute. Review

There isn’t a weak short in the bunch, and though certainly some of the twists are not surprising, the execution is slick, the shorts are gorgeous and moody, and Clancy Brown is an absolute treat. Review

Darkly funny and boasting outstanding soundtrack choices, Boo is a wicked good time. Review

On the Rocks is too tidy and too slick to entirely stand up to that comparison, but like Lost in Translation, there’s an autobiographical quality to the film that gives it a soul. Review

There’s nothing awful about The Cleansing Hour. It is perfectly serviceable low budget horror. You could watch it. Or you could find any one of the movies it steals from instead. Review

The direction is too often obvious: a cough, a handkerchief, blood. At other times, cinematic choices betray the film’s low budget. The Curse of Audrey Earnshaw will never reach the ranks of classic, but it makes a lot of bold choices and leaves an impression. Review

The film is far more family drama/thriller than horror, but Blumhouse could do worse than introduce its Welcome to Blumhouse program on Amazon with this solidly crafted, impressively acted film. Review

The lighthearted cynicism and dystopian dread that marks a generation rears its pessimistic but nonetheless delightful head for an end that’s an unsettling mix of optimism and desperation. Review

Grant’s film is ghoulish and tense, with a genuinely unexpected musical number. It’s a hard film to nail down, and though it plays out like a long and especially bloody sitcom, the utter lunacy of the plot feels grounded in an authentic exhaustion and insanity known only to those who work in hospitals. Review

Possessor is a meditation on identity, sometimes very obviously so, but the underlying message takes that concept and stabs you in your still-beating heart with it. Review

It is exhilarating to watch these pioneering advocates spar and support, dodge and demand, and most of all, speak up. It’s heartbreaking, too. Review

The film hits July’s sweet spot: gawky introverts struggling to find, accept and maintain human connections. The humor works as well as it does because the whimsy and eccentricity in the film is grounded in compassion rather than mockery. Review

The writing is sometimes suspect. Formula makes up for a tight structure—you know where things are headed, even if not every step in the journey makes a lot of sense. But The Paper Tigers makes up for those missteps, mainly with affability and good nature. Review

Kapsalis’s understatement as a director capitalizes on Skye’s still, unnerving descent. Together they deliver a climax that will haunt you. Review

Anthony Heald also makes a welcome appearance at about the halfway point, and the action takes an effective turn with him. But mainly, Alone benefits from two truly savvy performances. It just doesn’t have much to say that we haven’t already heard. Review

It is a vision, from its opening musical notes to its closing image, though, that marks a filmmaker worth discovering. Review

While horror has always been an opportunity for the collective unconscious to deal with social anxiety in a safely distant way, Spiral is less interested in creating that comforting fictional buffer. It’s as if the filmmakers want you to see the holes in their plot so you’re more able to see the nonfiction it’s based on. Review

The history is well told between effective speakers and illustrative animations, but it’s the insidious nature of voter suppression and its modern execution that is equal parts enlightening, terrifying and frustrating. Review

What they create together is harrowing, but it’s also a brilliant piece of filmmaking that needs to be seen. Review

Driven by a smart script, excellent supporting work (both Amy Rutledge and Kathleen Brady are wonderful), and an unerring lead turn, Rent-A-Pal delivers an alarming kind of origin story. Review